One of the real terrors of our “age of information” is the stream (or should I say barrage?) of images, ideas, and products that we’re served daily. The onslaught makes my eyesight blurry, and I find myself having trouble digesting anything. But, every once in a while, something will break through that confusion and make a real impact. I had that experience with Poul Kjærholm’s furniture designs.
Kjærholm at his desk.
Courtesy of Fritz Hansen
Kjærholm's living room is furnished with his PK31 sofas, PK65 coffee table, and PK33 stool.
Courtesy of Fritz HansenOn a recent trip to Copenhagen with Fritz Hansen, I learned all about Kjærholm’s life. He was born in 1929 in Østervrå, a small town in northern Denmark. He trained first as a cabinetmaker before enrolling at the Danish School of Arts and Crafts in Copenhagen. While his early education grounded him in the traditions of woodworking, it was here that Kjærholm’s philosophy began to diverge from the prevailing Danish design ethos.
His contemporaries—Hans Wegner, Arne Jacobsen, Finn Juhl—were all focused on natural materials like wood, leather, and textiles to create simple, warm furniture. These designs are the visual language of Danish modernism that we know today. But Kjærholm had a different material interest: He was obsessed with metal. To him, steel was not cold or mechanical—it allowed him to create delicate, light pieces that had sculptural appeal. This conviction became the defining thread of his career.
PK15 wood and cane armchairs sit in perfect harmony in Kjærholm’s dining room.
Courtesy of Fritz HansenAfter graduating, Kjærholm quickly gained recognition. His PK22 chair (my favorite), earned him the prestigious Lunning Prize and placed him on the international stage. By the 1970s, he was a professor at the Royal Danish Academy of Fine Arts, influencing a new generation of designers.
His pieces are deceptively simple: a coffee table with only a couple materials, an armless bench that seemingly floats on the wall, a chaise of just one swooping line. But within this simplicity lies an extraordinary refinement: Poul designed everything, down to the screws and bolts in his work, showing his pursuit of perfection.
The PK22 Lounge Chair in wicker and steel, designed by Poul Kjærholm in 1956.
Courtesy of Fritz Hansen
The PK11 Armchair in steel and ash, designed by Poul Kjærholm in 1957.
Courtesy of Fritz HansenToday, his pieces—still produced by Fritz Hansen—remain as coveted as ever. More than four decades after his death, Poul Kjærholm’s vision feels very contemporary: His designs are not relics of the past but as relevant as ever.
